Digital chiaroscuro: transforming a classical style through digital animation

2021 ◽  
Author(s):  
David Michael Lally
Keyword(s):  
Digital Animation ◽  
Classical Style

The Classical Style

1977 ◽  
Vol 2 (1) ◽  
pp. 33
Author(s):  
Desmond Shawe-Taylor
Keyword(s):  
Classical Style

Europa 51: The Face of the Star in Neorealisms Urban Landscape

Film Studies ◽  
2004 ◽  
Vol 5 (1) ◽  
pp. 39-57
Author(s):  
Ora Gelley
Keyword(s):  
Sexual Difference ◽  
Urban Landscape ◽  
Social World ◽  
Female Characters ◽  
The Social ◽  
The World ◽  
Roberto Rossellini ◽  
The Face ◽  
Classical Style

Although Europa 51 (1952) was the most commercially successful of the films Roberto Rossellini made with the Hollywood star, Ingrid Bergman, the reception by the Italian press was largely negative. Many critics focussed on what they saw to be the ‘unreal’ or abstract quality of the films portrayal of the postwar urban milieu and on the Bergman character‘s isolation from the social world. This article looks at how certain structures of seeing that are associated in the classical style with the woman as star or spectacle - e.g., the repetitious return to her fixed image, the resistance to pulling back from the figure of the woman in order to situate her within a determinate location and set of relationships between characters and objects - are no longer restricted to her image but in fact bleed into or “contaminate” the depiction of the world she inhabits. In other words, whereas the compulsive return to the fixed image of the woman tends to be contained or neutralised by the narrative economy and editing patterns (ordered by sexual difference) of the classical style, in Rossellini‘s work this ‘insistent’ even aberrant framing in relation to the woman becomes a part of the (female) characters and the cameras vision of the ‘pathology’ of the urban landscape in the aftermath of the war.

Improvements on the truth

2020 ◽  
Vol 8 (1) ◽  
pp. 63-83
Author(s):  
Damian Gascoigne
Keyword(s):  
New Media ◽  
Digital Technology ◽  
Digital Tools ◽  
Digital Animation ◽  
2D Animation ◽  
Analogue To Digital

My drawn animation practice has always focused on the gestural mark and messy materiality. This article is about what happened to that practice in the transition from analogue to digital animation, questioning what was lost forever and what might still be worth fighting for. This practitioner’s account of a ‘before digital, after digital’ career describes the experience of making work, as work itself changed forever. Ushered in with little reflection or resistance in the mid-1990s, the new digital doctrine slowly consumed hand-drawn 2D animation production to the point where few but the most determined independent makers keep this vital practice alive. My contention is that a reckoning on why and how we engage with digital technology is long overdue. The article will set out why – after working with digital tools for more than twenty years – I have now abandoned all but the most cursory engagement with new media tools and taken the long walk back to a material analogue practice. The ideas under discussion here can be traced back to one overriding concern – the unsolvable relationship between movement in drawing and drawing for movement. This dichotomy is unique to 2D animation, because freedom of gesture in drawing does not produce continuity of movement in animation. Mining this seam drives my independent animation practice as I try to reconcile the page and the frame.

Cine-Mimetic Syntax:The Big Lebowskiand the Hollywood Neo-Classical Style

2013 ◽  
Vol 21 (1) ◽  
pp. 51-64
Author(s):  
Brian J. Snee ◽  
Jennifer J. Richardson
Keyword(s):  
Classical Style

scholarly journals Approaches to Composition in Visual Music: An Artist’s Reflection on Three Original Pieces

2019 ◽  
Vol 29 ◽  
pp. 62-66
Author(s):  
Dave Payling
Keyword(s):  
Electroacoustic Music ◽  
Visual Music ◽  
Similar Work ◽  
Electronic Sound ◽  
Digital Animation ◽  
Compositional Practice

This article discusses the author’s visual music compositional practice in the context of similar work in this field. It specifically examines three pieces created between 2015 and 2017 that fused digital animation techniques with electronic sound. This approach contrasted with the author’s earlier compositions, which featured electroacoustic music and video concrète.

The origins of the classical style in sculpture.

1986 ◽  
Vol 106 ◽  
pp. 71-84 ◽  
Author(s):  
C. H. Hallett
Keyword(s):  
Fifth Century ◽  
Paper Briefly ◽  
Alternative Approach ◽  
Classical Style

The first part of this paper briefly reviews current theories as to the origins of the Classical style, and proposes an alternative approach. The second part, making use of some rather neglected pieces of literary evidence, attempts to reconstruct the circumstances in which this distinctive sculptural style was created, and presents it in a new light: as the ingenious solution to a specific artistic problem which confronted fifth-century Greek sculptors as a result of their final rejection of archaic stylization.

Researchers automate the digital animation process

Computer ◽  
2003 ◽  
Vol 36 (4) ◽  
pp. 24-26 ◽  
Author(s):  
L.D. Paulson
Keyword(s):  
Digital Animation
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